Milena Canonero

MILENACANONERO

Vida

Nascida em 01 de janeiro de 1946.

Figurinista italiana.

Estudou arte, histria do design e

gurino em Gnova.

Primeiros trabalhos para teatro e

propaganda na Inglaterra (anos 60).

Conheceu Kubrick no set de 2001: Uma

Odissia no Espao e foi convidada por ele

para trabalhar em Laranja Mecnica.

http://en.wikipedia.org/wiki/Milena_Canonero

http://www.imdb.com/name/nm0134382/bio?ref_=nm_ov_bio_sm

Milena Canonero no set de "Barry Lyndon"

Carreira

Indicaes ao Oscar (Best Costume Design)

1976 Barry Lyndon (dividido com Ulla-Britt Sderlund)

1982 Chariots of Fire

1986 Out of Africa

1989 Tucker: The Man and His Dream

1991 Dick Tracy

2000 Titus

2002 The Affair of the Necklace

2007 Marie Antoinette

2015 The Grand Budapest Hotel

http://en.wikipedia.org/wiki/Academy_Award_for_Best_Costume_Design

http://www.imdb.com/name/nm0134382/awards?ref_=nm_awd

Oscar, 1976 Oscar, 1982 Oscar, 2007 Oscar, 2015

Carreira

Indicaes ao British Academy Film

Awards (Best Costume Design)

1976 Barry Lyndon

1982 Chariots of Fire

1986 Cotton Club

1987 Out of Africa

1991 Dick Tracy



http://en.wikipedia.org/wiki/BAFTA_Award_for_Best_Costume_Design

http://www.imdb.com/name/nm0134382/awards?ref_=nm_awd

Raffaella Fantasia accept the award on behalf of Milena Canonero (2015)

Carreira

Indicaes ao Costume Designers Guild

Awards

Career Achievement Award

2001

Excellence in Contemporary Film

2005 The Life Aquatic with Steve Zissou

2005 Ocean's Twelve

Excellence in Period Film



http://www.imdb.com/name/nm0134382/awards

Milena Canonero at 2015 Costume Designers Guild Awards

1971 1975 1977 O Desaparecimento 1978 O Laranja Mecnica Barry Lyndon

Expresso da Meia-Noite 1980 1981 Carruagens de Fogo 1983 Fome de O Iluminado

Viver 1984 Give My Regards to Broad Street 1984 Cotton Club 1985 Entre Dois

Amores 1987 Bary - Condenados Pelo Vcio 1988 Tucker - Um Homem E Seu Sonho

1990 Coraes Covardes 1990 Dick Tracy 1990 O Poderoso Chefo III 1992 Mulher

Solteira Procura... 1992 Perdas e Danos 1994 S Voc 1994 Segredos do Corao

1994 Camilla 1994 A Morte e a Donzela 1998 Politicamente Incorreto 1999 Titus

2001 O Enigma do Colar 2002 Solaris 2004 Eros (segment "Equilibrium") 2004 A

Vida Marinha com Steve Zissou 2004 Doze Homens e Outro Segredo 2006 Belle

toujours 2006 2007 Viagem a Darjeeling 2007 I vicer 2010 O Maria Antonieta

Lobisomem 2010 C'tait Marie-Antoinette (TV Movie) 2011 Deus da Carnicina

2013 Castello Cavalcanti (Short) 2014 2015 Last SummerO Grande Hotel Budapeste

Carruagens de Fogo Cotton Club

Entre Dois Amores Tucker - Um Homem E Seu Sonho

A Vida Marinha com Steve Zissou O Lobisomem

Laranja Mecnica 1971

Directed by: Stanley Kubrick

Production Design by: John Barry

Art Direction by: Russell Hagg, Peter Sheilds.

Gnero: Fico cientca, Drama, Policial

No futuro, o violento Alex (Malcolm McDowell), lder de uma gangue de delinquentes que matam,

roubam e estupram, cai nas mos da polcia. Preso, ele recebe a opo de participar em um

programa que pode reduzir o seu tempo na cadeia. Alex vira cobaia de experimentos destinados a

refrear os impulsos destrutivos do ser humano, mas acaba se tornando impotente para lidar com a

violncia que o cerca.

(...) pelcula cheia de dualidades

(...) cuecas usadas por cima das calas, que continham enchimento para, supostamente, aumentar seus

rgos genitais; simbolizando a sexualidade explcita.

As roupas so, de certa forma, futuristas. Porm, foram inspiradas no pr punk, na esttica do m dos

anos 60, no incio dos anos 70 e na cultura do pop art (...) movimento artstico que usava do

colorido para ironizar a vida materialista. (...) No podemos nos esquecer tambm das formas

geomtricas.

(...) ar psicodlico

(...) transmitir a atmosfera das contradies e da juventude transviada

The costumes in ''A Clockwork Orange'' were inspired by then-current London street styles. Malcolm

McDowell, the lm's star, and his gang of stylized rufans wore black boots known in England's youth cults

as ''bovver'' - meaning bother - boots. After ''A Clockwork Orange,'' a new cult, Bovver Boys, reviled for

their tendency to cause ''a spot of bovver,'' as in ''Clockwork Orange,'' sprang up in London. Rock musicians

began sporting the lm's white pants with suspenders, black bowlers and bovver boots. Young women

in the lm wore color-streaked hair, a style that would resurface in punk rock and new wave circles.

Laranja Mecnica supostamente transcorre em um futuro prximo, o que explica a escolha das casas (a do

personagem escritor) e dos edifcios (a priso) mais modernas, quase futuristas. O lme tambm muito

marcado pela esttica de m dos anos 60 e de incio dos anos 70, da pop art: cores muito vivas, quadros

psicodlicos, moda pr-punk, msica pop e eletrnica.

Antoine de Gaudemar

Campbell's Soup Cans (1962)

Andy Warhol

Marilyn Silkscreen Prints

Andy Warhol

Barry Lyndon 1975


Production Design by: Ken Adam

Art Direction by: Roy Walker

Costume Design by: Milena Canonero, Ulla-Britt Sderlund

Gnero: Histrico, Aventura, Drama

No sculo XVIII, Barry (Ryan O'Neal), um aventureiro irlands, transgride a lei e obrigado a deixar

sua cidade. Junta-se ao exrcito para logo em seguida tornar-se espio e traidor. Seu principal

objetivo chegar at a aristocracia atravs do casamento. Ele consegue, mas aps um breve

perodo de felicidade, um triste destino o aguarda.

A myth grew that the Academy Award-winning costumes used in the lm were genuine antique

clothes, but this is only partly correct. Some of the costumes were genuine antiques bought at auction

by costume designer Milena Canonero, while others were custom-made specically for the lm and

were based on clothing of the period and costumes seen in period paintings.

(...) gurinos absolutamente impecveis e primorosos em relao pesquisa, uso de materiais - alguns

tecidos originais do sculo XVIII ou fabricados e tingidos de acordo com a tecnologia da poca

Many of the shots were composed and lmed

in order to evoke certain eighteenth century

paintings, especially those by Thomas

Gainsborough.

Canonero declares she was inspired by

painting, unveiling her penchant for tableaux-

vivants, and 18th century minor painters: by

Thomas Gainsborough and Joshua Reynolds

for the British atmosphere, by German painters

such as Menzel for the candle-lit scenes. The

resulting costumes are of extraordinary richness.

Mr and Mrs Andrews (about 1750)

Thomas Gainsborough

Captain George K. H.

Coussmaker (1759-1801)

Sir Joshua Reynolds




Gainsborough.








Flute Concert with Frederick the Great in Sanssouci (1850-1852)

Adolph Menzel




Gainsborough.








O Iluminado 1980


Production Design by: Roy Walker

Art Direction by: Leslie Tomkins

Gnero: Terror

Durante o inverno, um homem (Jack Nicholson) contratado para car como vigia em um hotel no

Colorado e vai para l com a mulher (Shelley Duvall) e seu lho (Danny Lloyd). Porm, o contnuo

isolamento comea a lhe causar problemas mentais srios e ele vai se tornado cada vez mais

agressivo e perigoso, ao mesmo tempo que seu lho passa a ter vises de acontecimentos

ocorridos no passado, que tambm foram causados pelo isolamento excessivo.

Titus 1990

Directed by: Julie Taymor

Production Design by: Dante Ferretti

Art Direction by: Massimo Razzi, Domenico Sica (co-art director), Pier Luigi Basile

(supervising art director).

Gnero: Histrico, Drama

Titus Andronicus (Anthony Hopkins) um bem-sucedido general romano que est de volta sua terra

natal, aps vrias vitrias sobre os inimigos do Imprio Romano. Junto consigo traz Tamora (Jessica

Lange), a rainha dos godos, povo inimigo aos romanos, que se torna prisioneira, juntamente com

seus trs lhos. Buscando vingana da morte de 21 de seus 25 lhos na guerra, Titus decide por

matar em nome de sua honra o primognito de Tamora. As consequncias de tal ato se

desencadearo mais tarde, quando Tamora se tornar a nova rainha do Imprio Romano.

In Titus, (...) widely divergent epochs are represented throughout the

lm, existing side by side without any commentary on why, or how.

Costume, paraphernalia, horses or chariots or cars; these represent

the essence of a character, as opposed to placing it in a specic

time. This is a lm that takes place from the year 1 to the year 2000.

Julie Taymor

It's retro-contemporary-futuristic. Everything was interpreted,

nothing was exact. It's like a comic strip. It's much easier to do a

movie in a specic period. Here, all the costumes mean something

more than just dress-up. It's a very difcult way of doing a movie.

Milena Canonero

None of the characters wear green at any point during the lm. Director Julie Taymor felt that green

suggests safety and comfort and told costume designer Milena Canonero that costumes could only

be colored metallic, red, blue, gray, black or white.

Director Julie Taymor used anachronistic props and clothes throughout the lm (eg chariots and tanks;

swords and machine guns) because she wanted to symbolically depict 2,000 years of warfare and

violence.

Milena Canonero's costume designs incorporate strains of historical periods ranging from ancient to

modern, evoking past and present associations of historical memory to play further on the

borderline of the real/surreal.

STARKS, Lisa; LEHMANN, Courtney. The Reel Shakespeare: alternative cinema and theory. Cranbury: Rosemont Publishing & Printing Corp., 2002.

During both the off-Broadway production of the play and the shooting of the lm, director Julie Taymor

used the work of Joel-Peter Witkin as inspiration.

Gods of Earth & Heaven (1988)

Joel-Peter Witkin

The Birth of Venus (1486)

Botticelli



Woman Once a Bird (1990)

Joel-Peter Witkin

Le Violon d'Ingres (1924)

Man Ray



Las Menias (1987)

Joel-Peter Witkin

Las Meninas (1656)

Diego Velzquez

Maria Antonieta 2006

Directed by: Soa Coppola

Production Design by: K.K. Barrett

Art Direction by: Pierre du Boisberranger, Anne Seibel

Gnero: Histrico, Biograa, Drama

A princesa austraca Maria Antonieta (Kirsten Dunst) enviada ainda adolescente Frana para se

casar com o prncipe Luis XVI (Jason Schwartzman), como parte de um acordo entre os pases. Na

corte de Versalles ela envolvida em rgidas regras de etiqueta, ferrenhas disputas familiares e

fofocas insuportveis, mundo em que nunca se sentiu confortvel. Praticamente exilada, decide

criar um universo parte dentro daquela corte, no qual pode se divertir e aproveitar sua

juventude. S que, fora das paredes do palcio, a revoluo no pode mais esperar para explodir.

(...) a modern and contemporary take on the character of the whimsical Austrian

Canoneros costumes were mostly based on historical silhouettes, but made with brighter, more modern

colors and lower necklines. Most of the historical inspiration for Canoneros costumes was reected in colors,

rather than extreme detail or copied style - (...) Canonero designed a blue costume with pink accessories

that was visually inspired by a portrait of Marie Antoinette in a blue dress with pink bows. Canonero also

follows a distinct timeline with her costumes which not only charts Marie Antoinettes character growth but

reects the changing fashion of the era - from large pannier dresses to simple country dresses and beyond.

I got to take this counter-age sort of story about a girl who is a fashion victim in a way. She starts out very

young and innocent. But we get to watch her grow through the movie. I started by throwing pieces of

material at Kirsten [Dunst] to see what colors suited her best.

Milena Canonero

Soas portrait of Marie Antoinette in the lm is accurate, but human. To me, Marie

Antoinette was very unlucky. She lacked the right upbringing for such a role. She was the

sweet playful girl of the family. Soa has grasped the lightness and superciality of the

young Marie Antoinette, but also the dignity of the woman. She has done it by using

light brush strokes and not too much dialogue.

Milena Canonero

I would get bored when it would get sort of too detailed. I didnt want to get bogged

down with history, but to focus on the personal relations between these people.

Milena Canonero

Soa [Coppola] gave me a box of macaroons from Ladure. We looked at

them and the beautiful colors and they became a guideline in a way. We

didnt do everything based off of them, but they were denitely an inspiration.

Milena Canonero

[At the start of pre-production, Coppola handed Canonero a box of pastel-

coloured macaroons from the Ladure pastry house.] She told me These are

the colors I love. I used them as a palette. Soa was clear about the

coloration, but left the rest to me. We squeezed the essence of the period,

without reproducing it. Even if you think you know a lot about it, you always

have to look for a new angle. I simplied the very heavy look of the 18th

century. I wanted it to be believable, but more stylized.

Milena Canonero

When Marie-Antoinette is going

through her shoes while preparing for

a big party you see a pair of blue

Converse All Star 1923 Chuck Taylor

basketball shoes for about one and a

half seconds. While these shoes were

denitely not in existence at the time

of Marie-Antoinette, their inclusion

in the lm was intentional, to portray

Marie-Antoinette as a typical teenage

girl despite the time she lived in.

Soa Coppola had Spanish footwear designer Manolo

Blahnik create hundreds of specially made shoes for

the lm.

O Grande Hotel Budapeste 2014

Directed by: Wes Anderson

Production Design by: Adam Stockhausen

Art Direction by: Stephan Gessler (lead art director), Gerald Sullivan ( supervising art

director), Steve Summersgill

Gnero: Comdia, Drama, Policial

No perodo entre as duas guerras mundiais, o famoso gerente de um hotel europeu conhece um

jovem empregado e os dois tornam-se melhores amigos. Entre as aventuras vividas pelos dois,

constam o roubo de um famoso quadro do Renascimento, a batalha pela grande fortuna de

uma famlia e as transformaes histricas durante a primeira metade do sculo XX.

We had meetings and also exchanges of ideas and

references not just for the costumes themselves, but

the total look of the principal characters from

head to toe, she [Milena Canonero] says.

Photographers like Man Ray and George Hurrell,

and painters like Gustav Klimt, Kees van Dongen,

Tamara de Lempicka, and George Grosz served as

inspiration points. One also is stimulated by

looking not only at the real people of that time,

but also at other images and literature that are

unrelated to the period and the setting of the

story, she says. The look of each actor has to

have its raison dtre.

Man Ray

George Hurrell














Egyptienne au

Collier de Perles

(1913)

Kees Van Dongen














Kizette On The Balcony

(1927)

Tamara de Lempicka














Vor der Kaserne (1918)

George Grosz














O desao no consistiu apenas em recriar

um perodo histrico, mais especicamente

os anos entre guerras, na ctcia Repplica

de Zubrowka, onde se desenrola a trama.

Milena precisou imergir no universo muito

particular do diretor Wes Anderson, cuja

preocupao esttica atinge um nvel de

detalhamento maior a cada novo lme. Para

compor a direo de arte complexa, ela

desenhou as roupas levando em conta no

somente os personagens, como tambm os

tons do cenrio e dos objetos.

Anderson envisioned Tilda Swintons

Madame D, a wealthy art collector nearly

90 years old, as someone who was a fan of

symbolist painter Gustav Klimt. With that

in mind, Canonero printed a Klimt-inspired

pattern for Swintons velvet costumes.

Um dos vestidos de veludo de Tilda Swinton, que

interpreta uma colecionadora de arte de mais de 80 anos,

tem as cores e desenhos de uma das mais famosas

pinturas do artista, o Retrato de Adele Bloch-Bauer 1.

Though Edward Norton plays the stern

captain of the Lutz military police, set

in Andersons ctional Eastern European

nation called Zubrowka, his style was

arresting. Canonero used her connections

with Fendi to have a gray Astrakhan

coat designed for the character.